Pristupajući problemu interpretacije lirike i njenog značaja za savremenu nauku o književnosti, autor ovog rada polazi od elaboracije pojmova
čitanja, razumevanja i tumačenja književnosti. Posebna ...pažnja pri tome je poklonjena glavnim predstavnicima i stanovištima produkcijsko-konstrukcijske
i recepcijsko-lektorske teorijske paradigme (R. Jakobson, M. Rifater, T. S. Eliot, H. Blum, H. R. Jaus, Ž. Derida, P. De Man, S. Fiš).
Obrazlažući vlastiti pristup, autor se priklanja savremenoj dijaloškoj teoriji (M. Bahtin, P. Zima), zastupajući koncept “refleksivnog identiteta
čitanja” i predlažući pojmove interpretativnog fokusa i lirske dominante kao teorijsko-metodološke konstrukte na kojima je moguće zasnovati tumačenje
lirskog pesničkog teksta nakon (post)strukturalističkog iskustva. Kao eksplikativni primeri ovakvog razumevanja interpretacije uzete su
dve značajne pesme hrvatskog modernizma – “Svakidašnja jadikovka” Tina Ujevića i “Mrtvac” Vladimira Vidrića.
This paper deals with the discursive phenomenon of reflexivity in the epic poetryof South Slavic romantic poets around the middle of the 19th century. Reflection is here understood as a kind of ...poetic self-formation procedure of romantic literary subject and his efforts to renovate epic mode in its original form. Starting with concept of “epic Romanticism”, in a way specific to South Slavic literatures, the author proceeds by distinguishing basic modes: explicit, implicit, and intertextual reflexivity. While the first two are related to typical romantic affectivity (D. Demeter, F. Prešeren) and/or rhetoric identification with oral folk rhapsodists’ tradition (P. P. Njegoš), the third one is marked with so-called “integration story” (I. Mažuranić), or mise en abyme, i.e. “the mirror in the text” effect as a medium of artistic auto-perspectivization and possible creative invention which leads to indications of the early pro-modern poetic procedures.
Lirski izražajni modus i retorska strategija verbalnog uskraćivanja ili izostavljanja, s osvrtom na estetsku funkciju jezika i svojstva sažetosti, konotativnosti i polisemičnosti lirike kao žanra. ...Elipsa kao figura i njena strukturna funkcija intrinsičnog uskraćivanja u lirskoj pesmi; „Epitaf” M. Nastasijevića kao eksplikativni primer. Aluzija kao figura/prosede ekstrinsičnog verbalnog uskraćivanja; „Nova radost” A. Ristovića kao eksplikativni primer. Ironija kao figura/postupak intrinsično-ekstrinsičnog verbalnog uskraćivanja; „Livada” S. Raičkovića kao eksplikativni primer. Teorijske i metodološke konsekvence.
Balkan Memories Zimmermann, Tanja
2014, 2012, 201403, 2012-01-01
eBook
This book gives an insight into the media constructions of historical remembrance reflecting transnational, national or nationalistic forms of politics. Authors from post-Yugoslavia and neighbouring ...countries focus on the diverse transnational (such as Austro-Hungarian, Yugoslav etc.) and national (such as Bosnian, Croatian, Serbian etc.) memory cultures in South-Eastern Europe, their interference and rivalry. They examine constructions of memory in different media from the 19th century to recent wars. These include longue durée images, breaks and gaps, selection and suppression, traumatic events and the loss of memory, nostalgia, false memory, reactivation, rituals and traces of memory.
Starting from a narratological point of view implying common ground of different cultural forms which have a narrative basis, this paper primarily deals with two exemplary works of South Korean art ...in recent decades – Kim Tong-ni's novel Ulhwa the Shaman (1978) and Bong Joon-ho's famous Parasite movie (2019).
Although belonging to different periods and different media, these important works share common features which testify to the significant phenomena of Korean social life. Generally speaking both of them show the collision of the old and the new, the traditional and the modern, eastern and western conceptions of life, beliefs of animism and consumerism, faith in the ethical values of ancestors and today's pragmatic trust in technical progress, and solid material and financial status. The main narrative plot in both works is thereby set within family circles – in the Kim Tong-ni's novel as a conflict between the parents' and their descendants' generations, and in the Bong Joon-ho's film as a class confrontation of two families from different social strata.
As the main characters in the centre of these fictional and filmic narratives appear typical personalities of shaman, domestic intruder and social parasite, which embody conflicted attitudes towards life choices. Being particularly artistically shaped, they actually represent subversive figures that question the perpetuated identity conceptions of individuals and collectives. Despite ending differently – tragically or tragicomically – both works show that the conflict of values permanently determines the Korean social reality and self-conceptions of the modern and the contemporary age.
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